Grateful Dead Live at Madison Square Garden on 1990-09-18
01) Half Step,
04) Picasso Moon,
05) Row Jimmy,
06) Desolation Row,
07) To Lay Me Down>
03) Foolish Heart>
07) Other One>
09) Sugar Magnolia
10) E: Heaven's Door
Collection GratefulDeadBand/Artist Grateful DeadVenue Madison Square GardenLocation New York City, NYSource B&K 4011's ORTF -> ProLnk Cables -> Neumann p48v -> Sony TCD-D10 line-in wide-open From Section A Row 19, seat 2 FOB - near centerLineage Tascam DA20mkII 48k DAT master -> Tascam CDRW700 with Marigo Audio Labs coaxial spdif cable, with dither to 44.1khz, on-the-fly, by the Tascam 700 +2dB digital gain added in the transfer from DAT to CDR masterTaped by tdarianTransferred by Mike French
"My primary crowd control weapon: Backstage passes to send the loud
mouths away"..... "with "Barry" the usher keeping the crowd as quiet as he could. And covering the mic stand from the aisle side "
20th anniversary of James Marshall Hendrix's death
December 3, 2012
good for its vintage
This is the best show after '83 including the greek dark star and branford nassau. i knock post '82 Dead, but i enjoyed this one thoroughly.
January 4, 2009
This was my first show and still remains my favorite Dead or Dead related show I've ever been too. During Promised Land Jerry was stamping his foot on the ground, I've never seen him so into a song since. But, this was Bobby's show, he was so damn good
Evan S. Hunt
December 16, 2007
There Were First Through Seventh Magnitude
Brilliance in stars displayed on this night with this recording. It is so damned loud @-33db I had to rush to turn it down so as not to disturb neighbors half a block away! Due to the late hour here, the headphones were called into service with all dispatch. 'Tis mighty awesome this audience delight. "And all they could do was sit around and say, Wow." Yeah, I like it like that.
Super-Recordist tdarian captures the rapturous bass tones and the band plays all songs well. Half Step, Minglewood, Loser, Picasso, Jimmy Row, Desolation, and then To Lay Me Down. I mean what more could you ask for in an AUD? This gives you all the feel of being amidst that joyful throng and the bass and kick are adequately represented ~ the opposite of a fault I natter about on most Audience recordings. Well done, tdarian and Mike French, very well done indeed!
Perhaps the word finally leaked to Vince, monitor mixer Harry Popick and Healy that Vince had been too loud on the 16th. But, on this night, according to this recording, Vince's keys were subdued, and, as a result, Vince focuses on his tasks singing and adding color musically and pulls it off in triplicate. They all draw together gloriously and deliver a flawless To Lay Me. This is really good! Jerry shouting and scatting on the final chorus is epic Grateful Dead. Quickly, Bobby jettisons the band into Promised Land and I went back to the headphones. The entire audience is singing the verses and the effect turns the band into total lunatics! Just picture me up and dancing at my terminal. All time great raging mesmerizing Promised with Jerry soloing thru intermission and Bobby furiously thrashing pure nasty filthy junk chunka-chunka ahead but it sounds behind, benign, which eventually leads to Jerry and Bobby going completely outta control and even Bobby fanning, and Bruce and Vince laying down finger-banging, ivory-chipping chordal magic and Mickey and Billy right in synch and changing it back and forth 'tween 'em, and Phil, oh Phil, Phil, Phil, Phil, Phil...dancing right into the break and...
Eyes! Ethereal and transparent blowing smoke rings down every open cavity of your psyche. The keyboards here again are measured and studious and Vince's keys solo turns Jerry into a four alarm dragon fanning like he was on a gondola 'neath the Bridge of Sighs. Then poof! Neatly back to the theme with Jerry knitting weave upon weave, layer upon layer... followed by a sickly outrageous exposition of Estimated. Call fire from the heavens why don't cha. And go right into a Foolish Heart which subtly sweeps you up into its Latin sway. A romance down under the heavens portray. The guys hit every mark with a reckless certainty and then drop down into a major jamme' de Bussy exploration of sharps and flatted thirds. When it picks up definition it first sounds like the Other One and gradually works into the Other One, but they whisper their way into it. There is no sense of urgency. There's no pressure. You've got us, lads, now lead us to glory. Whoa, come a drummer! and then another drummer! Whoa, pee break!
>>WE LOST AN OTHER ONE<< >>SEND BACKUP --- STAT <<
After drums come space. A drippy droopy meander into the back side the Other One conveniently deposited in 4.5 billion years of sediment. "Tis wading thru the La Brea Tar Pits I tell ya."
Finally, it bubbles up thru the subsoil and spouts an Other One like no Other One and peacefully with resolve into a gorgeous Wheel.
The band stuttersteps into Sugar Magnolia and that is essentially it.
Heaven's Door. Ha! ha! ha!